Chapter 7 Duke Ellington

© 2009 McGraw-Hill All Rights Reserved A Man for the Century Ellington’s influence rivals anyone associated with jazz in the 20th century An influential pianist in the ragtime/stride tradition Successfully combined European compositional techniques with spontaneity of jazz Most important contribution was as composer © 2009 McGraw-Hill All Rights Reserved

Biographical highlights Born in Washington D.C. to upper middle class family in 1899 Moved to New York in 1923 Played at the Cotton Club in Harlem 1923-27 1932-42 international acclaim, collaborates with Billy Strayhorn © 2009 McGraw-Hill All Rights Reserved

Biographical highlights -continued- 1946 longer compositions possible with the advent of LPs 1950-63 world tours, film music 1964 liturgical music, many awards 1974 dies at age 75 in New York City © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved The Cotton Club era Elaborate floor shows Jungle sounds included instrumental growls Capitalized on the strengths of his sidemen Became leader in the world of jazz © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Four styles Jungle style - built around raucous playing Mood style - beautiful ballads Concerto style - featured important soloists Standard - swinging big band numbers with signature Ellington style © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Touring Began touring in 1931 First European tour in 1933 was hugely successful Ellington realizes the potential of jazz as an American export Beginning of international recognition © 2009 McGraw-Hill All Rights Reserved

Swing Period Arrangements were refined and sophisticated Ellington did not pursue commercialism Music a bit too complex for the general public Listen to “In a Mellow Tone” CD 1 track 20 © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Billy Strayhorn 1915-1967 Called “Ellington’s alter ego” First hired as a lyricist Later collaborated on or wrote many of Ellington’s most famous tunes “Take the A Train” “Satin Doll” © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Longer Works Began to write more extensive pieces Concertos for Cootie Williams, Barney Bigard Symphonic oriented works “Jump for Joy” 1941 civil rights statement “Black, Brown, and Beige” 1943 a “musical evolution of the Negro race.” Performed at the band’s Carnegie Hall debut © 2009 McGraw-Hill All Rights Reserved

Johnny Hodges, alto saxophone 1907-1970 Signature voice for the Ellington Orchestra Participated in the creative process Unique tone color and inflection Listen to “Passion Flower” CD 1, track 21 © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Late Ellington Success at 1956 Newport Festival signals new era Jazz enters an era of respectability Important longer works e.g. “A Drum is a Woman”, “The Shakespearean Suite” Film score - 1964 “Anatomy of a Murder” Sacred music - 1965 © 2009 McGraw-Hill All Rights Reserved

Ellington’s innovations Use of individual sounds in a larger band Use of larger forms in jazz Use of voices as instruments Innovative compositions © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Ellington’s legacy Represented the hybrid of two heritages: Western European compositional tradition Expressive oral tradition of African Americans Recognized as a noble force in jazz © 2009 McGraw-Hill All Rights Reserved